David Francis Urrows
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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
UNIVERSITY of CALIFORNIA Los Angeles Reexamining Portamento As an Expressive Resource in Choral Music, Ca. 1840-1940 a Disserta
UNIVERSITY OF CALIFORNIA Los Angeles Reexamining Portamento as an Expressive Resource in Choral Music, Ca. 1840-1940 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Desiree Janene Balfour 2020 © Copyright by Desiree Janene Balfour 2020 ABSTRACT OF THE DISSERTATION Reexamining Portamento as an Expressive Resource in Choral Music, ca. 1840-1940 by Desiree Janene Balfour Doctor of Musical Arts University of California, Los Angeles, 2020 Professor William A. Kinderman, Co-Chair Professor James K. Bass, Co-Chair This study reexamines portamento as an important expressive resource in nineteenth and twentieth-century Western classical choral music. For more than a half-century, portamento use has been in serious decline and its absence in choral performance is arguably an impoverishment. The issue is encapsulated by John Potter, who writes, “A significant part of the early music agenda was to strip away the vulgarity, excess, and perceived incompetence associated with bizarre vocal quirks such as portamento and vibrato. It did not occur to anyone that this might involve the rejection of a living tradition and that singers might be in denial about their own vocal past.”1 The present thesis aims to show that portamento—despite its fall from fashion—is much more than a “bizarre vocal quirk.” When blended with aspects of the modern aesthetic, 1 John Potter, "Beggar at the Door: The Rise and Fall of Portamento in Singing,” Music and Letters 87 (2006): 538. ii choral portamento is a valuable technique that can enhance the expressive qualities of a work. -
William Byrd Festival 2008
This book has been published by the Church Music Association of America for distribution at the William Byrd Festival 2008. It is also available for online sales in two editions. Clicking these links will take you to a site from which you can order them. Softcover Hardcover A Byrd Celebration William Byrd 1540–1623 A Byrd Celebration LECTURES AT THE WILLIAM BYRD FESTIVAL EDITED BY RICHARD TURBET CMAA Church Music Association of America Cover picture is of the Lincoln Cathedral, England, where William Byrd was the choirmaster and organ- ist for nine years, 1563–1572. Copyright © 2008 Church Music Association of America Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com TABLE OF CONTENTS Acknowledgments . .7 Preface . .9 BIOGRAPHY . .11 William Byrd: A Brief Biography . .13 Kerry McCarthy “Blame Not the Printer”: William Byrd’s Publishing Drive, 1588–1591 . .17 Philip Brett Byrd and Friends . .67 Kerry McCarthy William Byrd, Catholic and Careerist . .75 Joseph Kerman MASSES . .85 The Masses of William Byrd . .87 William Peter Mahrt Byrd’s Masses in Context . .95 David Trendell CANTIONES . .103 Byrd’s Musical Recusancy . .105 David Trendell Grave and Merrie, Major and Minor: Expressive Paradoxes in Byrd’s Cantiones Sacrae, 1589 . .113 William Peter Mahrt Savonarola, Byrd, and Infelix ego . .123 David Trendell William Byrd’s Art of Melody . .131 William Peter Mahrt GRADUALIA . .139 Rose Garlands and Gunpowder: Byrd’s Musical World in 1605 . .141 Kerry McCarthy The Economy of Byrd’s Gradualia . .151 William Peter Mahrt 5 6 — A Byrd Celebration ENGLISH MUSIC . -
AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]). -
Stainer & Bell
T71 STAINER & BELL LTD Early Music 2020 ER & B IN E A L T L S E & S S B 7 T 0 A 9 B 1 L I S H E D Including the editions of AUGENER GALLIARD JOSEPH WILLIAMS WEEKES EARLY MUSIC Contents Preface ................................................................................................................. 2 Ordering Information............................................................................................. 3 Keyboard Music .................................................................................................... 4 Composer Collections ..................................................................................... 4 Anthologies ..................................................................................................... 5 Piano Duet ...................................................................................................... 6 Music for Organ ............................................................................................... 6 Instrumental: Strings, Wind and Brass ................................................................. 7 Violin ............................................................................................................... 7 Viola ................................................................................................................ 7 Cello ................................................................................................................ 7 Double Bass ................................................................................................... -
Copyright 2017 Janet Mccumber
Copyright 2017 Janet McCumber “I WYL POURE OUT THE WORDES OF SORROWE”: POLITICS IN THE PROTESTANT AND CATHOLIC SETTINGS OF PSALMS 51 AND 79 DURING THE ENGLISH REFORMATION BY JANET MCCUMBER DISSERTATION Submitted in partial fulfillment of the requirementS for the degree of Doctor of MuSical ArtS in Music with a concentration in Choral Conducting in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: AsSiStant ProfeSSor ChriStopher Macklin, Chair and Director of ReSearch Professor Andrew Megill John Wagstaff, Librarian, ChriSt’S College, UniverSity of Cambridge, UK Professor Sever Tipei ABSTRACT The muSic of the Tudor era in England reflected the period’S political instability. This instability had itS rootS in, among other thingS, the religiouS movement known aS the Reformation. ProteStant and Catholic factionS relied upon biblical textS, SermonS, tractS and other circulating workS to Spread their propaganda, with muSical SettingS of the PSalms alSo finding a part in thiS diSSemination. Beginning in the reign of Edward VI, the metrical pSalterS of the Anglican Church functioned aS perSonal devotional inStrumentS aimed at laity poSSeSSing limited muSical and academic training. They provided, in their Simple tuneS and metricized textS, an eaSy meanS of memorizing the PSalms. Latin motetS, on the other hand, eSpecially thoSe circulating in copied manuScript collectionS in the latter half of the sixteenth century, reflected the political situation of EngliSh CatholicS who were legally unable to worShip openly by incorporating Such textS aS PSalm 50 [51] (Miserere mei, Deus) and PSalm 78 [79] (Deus, venerunt gentes) into lamentS of perSecution. -
The Career and Reputation of Herbert Howells
Durham E-Theses The Career and reputation of Herbert Howells Marshall, Richard George How to cite: Marshall, Richard George (2005) The Career and reputation of Herbert Howells, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2860/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk The Career and Reputation of Herbert Howells Richard George Marshall The copyright of this thesis rests with the author or the university to which It was submitted. No quotation from It, or information derived from It may be published wtttiout the prior written consent of the author or university, and any Information derived from It should be acknowledged. A thesis submitted for the degree of Master of Music (MA) 2005 1 1 OCT 2006 Contents List of Musical Examples 1 Introductory Comments 3 Introduction 5 Chapter One: Biography 15 Chapter Two: The Construction of Howells' Englishness 38 Chapter Three: Herbert Howells: His Thoughts on Music and Musicians 60 Chapter Four: Howells' Relation to Tudor and Elizabethan Music 86 Conclusion: assessing Howells' career and reputation 108 Appendix One: Work List 115 Appendix Two: A Chronological List of Performances 131 Bibliography 161 List of Musical Examples Ex.5.1. -
Sylvia Townsend Warner: a Musical Life
SYLVIA TOWNSEND WARNER: A MUSICAL LIFE LYNN MUTTI UCL PhD 1 I, Lynn Mutti, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 SYLVIA TOWNSEND WARNER: A MUSICAL LIFE Abstract Music was central to Warner's life: she was first a young, aspiring composer, then a musicologist, later a librettist and friend to musicians and composers, and for fifty years a writer whose works regularly engaged with music in richly diverse ways. Unpublished diary entries show her knowledgeable and personal response to music heard in the concert hall, on the radio, via gramophone records or as a participant in a choir. Her ear was tuned to sound, especially sound in nature: water, birds, animals, the sea, the wind, as well as the cacophony of human voices, singing, shouting, joyous or sad. Warner's acute ear tuned into the life around her and articulated it in her written work. A late diary entry just a few months before her death shows her frailty and the continuing importance of music in her daily life. Sound and music are contained in one eloquently descriptive sentence: 'I fell against the tool-shed with a loud clang. Little the worse. Revived by a fine performance of the Pastoral Symphony'.1 My aims in this thesis are to present the fullest narrative yet of Warner's engagement with music, to examine her academic writing on the subject and to recount her musical collaborations and friendships which have not previously been a subject for academic discussion. -
W.W. Cobbett's Phantasy: a Legacy of Chamber Music in the British Musical Renaissance
HODGES, BETSI, D.M.A. W. W. Cobbett’s Phantasy: A Legacy of Chamber Music in the British Musical Renaissance. (2008) Directed by Dr. Andrew Harley. 73 pp. The purpose of this dissertation is to determine the role that Walter Willson Cobbett (1847-1937) played in the British Musical Renaissance by his initiation of a series of chamber music competitions, beginning in 1905, each of which required the composition of a phantasy. The phantasy was Cobbett’s reinvention of an older genre, the fancy, or fantasia, which had been popular in sixteenth- and seventeenth- century England. A vast number of new British chamber compositions was generated from these competitions. After examining the events of Cobbett’s life that contributed to his involvement and passion for music, the paper discusses some of the events and issues that caused England to experience a musical renaissance. This leads to a discussion of the history of the fancy in the sixteenth and seventeenth centuries. Cobbett’s reinvention of the genre and some of the reactions to it are subsequently examined. The competitions themselves are presented in great detail with the results and descriptions and/or reviews of some of the winning compositions. Other important contributions of Cobbett are shown, such as his eleven commissions for phantasies, his sponsorship of prizes at the Royal College of Music, and the endowed medal for services to chamber music issued each year by the Worshipful Company of Musicians. Concluding statements portray the lasting legacy Cobbett has had on British chamber music. W.W. COBBETT’S PHANTASY: A LEGACY OF CHAMBER MUSIC IN THE BRITISH MUSICAL RENAISSANCE by Betsi Hodges A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by Dr. -
North American British Music Studies Association University of Nevada, Las Vegas July 31 – August 3, 2014
North American British Music Studies Association University of Nevada, Las Vegas July 31 – August 3, 2014 Abstracts _____________________________________________ Themed Panel Death, Monsters, and the Succession ... Fears and Anxieties in Elizabethan Song (individual papers appear in the abstracts alphabetically under each author’s last name) Elizabethan England was ripe with fears and anxieties, some imagined and some real. Superstitions, home remedies, and dedicated prayers were rampant. This session consists of three presentations, each focusing on a common early English fear or anxiety, as expressed within specific musical settings. K. Dawn Grapes (Colorado State University): Above the Firmament: Elizabethan Musical Elegies as Commentaries on the Afterlife” William Ross Hagen (Utah Valley University): ‘The great abuse and vice that here in England doth reign’: Succession Anxiety and Monstrous Birth Ballads in Elizabethan England Jeremy L. Smith (University of Colorado at Boulder): Musical Depictions of Mary Queen of Scots as Susanna by William Byrd Collectively, these studies illustrate the important role of composers and their music in capturing, portraying, recording, and advancing cultural beliefs of the late English Renaissance. _____________________________________________ Individual Papers Abstracts appear in alphabetical order by last name of presenter. +++++ Jenna Bailey (University of Lethbridge / University of Sussex) “The Melodic Minors”: An Exploration into the Lives of the Musicians in the Ivy Benson Band Between 1940 and the early 1980s, a formidable woman named Ivy Benson ran the first nationally known, and longest running, all-girl dance band in British history. Throughout her career as a bandleader, Benson organized her eighteen- to twenty-four-piece band like a music school for young women by recruiting, training, mentoring, and managing more than 300 musicians over a period of four decades. -
Choral Music 2021
T60 Choral Music 2021 STA INER & BE LL LTD Victoria House, 23 Gruneisen Road, London N3 1LS Telephone: +44 (0) 20 8343 3303 Including the editions of email: [email protected] https://stainer.co.uk AUGENER � GALLIARD � WEEKES � JOSEPH WILLIAMS CHORAL MUSIC Contents Ordering Information.................................................................................2 Anthems and Services..............................................................................3 Christmas Music, Carols and Spirituals ....................................................8 Madrigals, Airs and Partsongs ................................................................13 Mixed Voices ..........................................................................................17 Upper Voices ..........................................................................................21 Male Voices ............................................................................................22 For Children ............................................................................................23 Library Editions: ......................................................................................24 The Byrd Edition ................................................................................24 Early English Church Music ..............................................................24 Musica Britannica ..............................................................................26 Purcell Society Edition ......................................................................27 -
Toward a Critical Edition of Gordon Jacob's
TOWARD A CRITICAL EDITION OF GORDON JACOB’S WILLIAM BYRD SUITE: A COMPARISON OF EXTANT EDITIONS WITH THE FITZWILLIAM VIRGINAL BOOK Andrew Jason Trachsel, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2007 APPROVED: Eugene Migliaro Corporon, Major Professor Warren Henry, Minor Professor Dennis Fisher, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Trachsel, Andrew Jason. Toward a Critical Edition of Gordon Jacob’s William Byrd Suite: A Comparison of Extant Editions with The Fitzwilliam Virginal Book. Doctor of Musical Arts (Performance), August 2007, 150 pp., 23 figures, references, 61 titles. Despite being recognized as one of the most important compositions in the twentieth century wind band repertoire, the William Byrd Suite presents many obstacles for the conductor and ensemble members. Since its initial publication in 1924, the piece has contained many discrepancies of pitch, articulation, rhythm, dynamics, and phrase completion that appear in the score as well as the parts. Although the work was reissued by Boosey & Hawkes in 1960 and 1991, many of the original errors remained intact. The sheer amount of inconsistencies causes great difficulties for the musicians involved in the rehearsal process, slowing efficiency and resulting in a frustrating impediment to a quality performance. The primary purpose of this study was the creation of a critical edition of Jacob’s William Byrd Suite that eliminates errors of extant editions, incorporates modern instrumentation, and considers the source material.